Bearwolf and Fidget: The first of seven stories in 'The Adventures of Bearwolf'

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Lapidge, Michael (1996). Anglo-Latin literature, 600–899. London: Hambledon Press. p. 299. ISBN 978-1-85285-011-1. Ursula Schaefer's view is that the poem was created, and is interpretable, within both pagan and Christian horizons. Schaefer's concept of "vocality" offers neither a compromise nor a synthesis of views that see the poem as on the one hand Germanic, pagan, and oral and on the other Latin-derived, Christian, and literate, but, as stated by Monika Otter: "a 'tertium quid', a modality that participates in both oral and literate culture yet also has a logic and aesthetic of its own." [161] [162] Politics and warfare [ edit ] a b Yeager, Robert F. "Why Read Beowulf?". National Endowment for the Humanities. Archived from the original on 30 September 2007 . Retrieved 2 October 2007.

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Beowulf falls into two parts. It opens in Denmark, where King Hrothgar has a splendid mead hall known as Heorot, a place of celebration and much merriment. However, the joyous noise angers Grendel, an evil monster living in a nearby swamp. For 12 years the creature terrorizes Heorot with nightly visits in which he carries off Hrothgar’s warriors and devours them.Carl Wilhelm von Sydow (1923), Beowulf och Bjarke: föredrag / C. W. von Sydow., Skrifter utgivna av Svenska litteratursällskapet i Finland (in Swedish), Helsinki: Society of Swedish Literature in Finland, ISSN 0039-6842, Wikidata Q113518958

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The poem blends fictional, legendary, mythic and historical elements. Although Beowulf himself is not mentioned in any other Anglo-Saxon manuscript, [8] many of the other figures named in Beowulf appear in Scandinavian sources. [9] This concerns not only individuals (e.g., Healfdene, Hroðgar, Halga, Hroðulf, Eadgils and Ohthere), but also clans (e.g., Scyldings, Scylfings and Wulfings) and certain events (e.g., the battle between Eadgils and Onela). The raid by King Hygelac into Frisia is mentioned by Gregory of Tours in his History of the Franks and can be dated to around 521. [10]The Icelandic scholar Grímur Jónsson Thorkelin made the first transcriptions of the Beowulf-manuscript in 1786, working as part of a Danish government historical research commission. He made one himself, and had another done by a professional copyist who knew no Old English (and was therefore in some ways more likely to make transcription errors, but in other ways more likely to copy exactly what he saw). Since that time, the manuscript has crumbled further, making these transcripts prized witnesses to the text. While the recovery of at least 2000 letters can be attributed to them, their accuracy has been called into question, [c] and the extent to which the manuscript was actually more readable in Thorkelin's time is uncertain. [88] Thorkelin used these transcriptions as the basis for the first complete edition of Beowulf, in Latin. [89]

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Unless otherwise expressly agreed in writing, the delivery dates and delivery deadlines stated are not binding and no warranty is made for complying with the same. There has long been research into similarities with other traditions and accounts, including the Icelandic Grettis saga, the Norse story of Hrolf Kraki and his bear- shapeshifting servant Bodvar Bjarki, the international folktale the Bear's Son Tale, and the Irish folktale of the Hand and the Child. Persistent attempts have been made to link Beowulf to tales from Homer's Odyssey or Virgil's Aeneid. More definite are Biblical parallels, with clear allusions to the books of Genesis, Exodus, and Daniel.Shippey, Tom (2007). "Tolkien and the Beowulf-poet". Roots and Branches. Walking Tree Publishers. ISBN 978-3-905703-05-4. Liuzza 2013, p.119: "gomenwudu grēted, gid oft wrecen, ðonne healgamen Hrōþgāres scop æfter medobence mǣnan scolde,". Davis, Nicola (8 April 2019). "Beowulf the work of single author, research suggests". The Guardian . Retrieved 20 May 2019. In Denmark, recent (1986-88, 2004-05) [15] archaeological excavations at Lejre, where Scandinavian tradition located the seat of the Scyldings, Heorot, have revealed that a hall was built in the mid-6th century, matching the period described in Beowulf, some centuries before the poem was composed. [16] Three halls, each about 50 metres (160ft) long, were found during the excavation. [16] Summary [ edit ] Carrigan's model of Beowulf 's design [17] Beowulf, Hygelac, Hrothgar, Wealhtheow, Hrothulf, Æschere, Unferth, Grendel, Grendel's mother, Wiglaf, Hildeburh.

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Robinson, Fred C. (2002). "The Tomb of Beowulf". The Norton Critical Edition of Beowulf: A Verse Translation, translated by Seamus Heaney and edited by Daniel Donoghue. W.W. Norton & Company. pp.181–197.

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a b Newton, Sam (1993). The Origins of Beowulf and the Pre-Viking Kingdom of East Anglia. Woodbridge, Suffolk, England: Boydell & Brewer. ISBN 978-0-85991-361-4. It cannot be denied that Biblical parallels occur in the text, whether seen as a pagan work with "Christian colouring" added by scribes or as a "Christian historical novel, with selected bits of paganism deliberately laid on as 'local colour'", as Margaret E. Goldsmith did in "The Christian Theme of Beowulf". [143] Beowulf channels the Book of Genesis, the Book of Exodus, and the Book of Daniel [144] in its inclusion of references to the Genesis creation narrative, the story of Cain and Abel, Noah and the flood, the Devil, Hell, and the Last Judgment. [143] Dialect [ edit ] North, Richard (2006). "The King's Soul: Danish Mythology in Beowulf". Origins of Beowulf: From Vergil to Wiglaf. Oxford University Press. The poet had a choice of formulae to assist in fulfilling the alliteration scheme. These were memorised phrases that conveyed a general and commonly-occurring meaning that fitted neatly into a half-line of the chanted poem. Examples are line 8's weox under wolcnum ("waxed under welkin", i.e. "he grew up under the heavens"), line 11's gomban gyldan ("pay tribute"), line 13's geong in geardum ("young in the yards", i.e. "young in the courts"), and line 14's folce to frofre ("as a comfort to his people"). [148] [149] [150] a b Crowne, D. K. (1960). "The Hero on the Beach: An Example of Composition by Theme in Anglo-Saxon Poetry". Neuphilologische Mitteilungen. 61.